Keith Sheridan, LLC Abstract Prints

James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce. Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'. ABOUT THE IMAGE "I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister. Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...

Leonard Edmondson, 'Winter Garden', color etching, edition 50, 1957. Signed, titled, dated, and numbered '50/50' in pencil. A superb, richly-inked impre...

Edward Landon, 'Untitled Fantasy', color serigraph, 1983, edition 30, Ryan 214. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, on off-whi...

Werner Drewes, 'Small Forms on Crossing Bands', drypoint and roulette, 1935, edition 20, Rose 1.197. Signed in pencil. A fine, rich impression, in warm black ink, on cream wove paper...

Werner Drewes, 'Pointed Shapes and Black Half Moon', etching, 1935, edition 20, Rose l.198. Signed, dated, and numbered 'I-XX' in pencil. A fine, rich impression, in warm black ink...

Thomas A. Robertson, 'The Orange Point', color serigraph, edition 54, 1941. Signed, titled, and annotated 'Ed/54' in pencil. A fine impression, with fresh colors, on buff wove paper;...

Sigismond Kolos-Vari, 'Nets', color etching with soft-ground and aquatint, edition 200 (1 of 60 artist's proofs), 1952. Signed and dated in pencil. Numbered L/LX in pencil. A superb, richly-inked impression, on heavy, off-white, Arches wove paper; the full sheet with margins (1 3/8 to 3 1/2 inches), in excellent condition. Published by the Guide de la Gravure, Switzerland, with their blindstamp in the bottom left sheet corner. Matted to museum standards, unframed. Image size 11 3/4 x 15 5/8 inches (298 x 397 mm); sheet size 15 x 22 1/4 inches (381 x 565 mm). ABOUT THE ARTIST Sigismund Kolos-Vari was born in Hungary and attended the School of Applied Arts in Budapest from 1915 to 1918 and then the School of Decorative Arts until 1925. The artist settled in Paris, and his first one-person show in 1928 at Galerie Miromesnil, which was highly successful, led to numerous subsequent exhibitions, including with the prestigious Galerie Bonaparte in 1929 and Galerie Povolosky in 1930. Kolos-Vari’s early success was abruptly interrupted by the outbreak of WWII when he was arrested by the Gestapo and imprisoned in the Gurs internment camp. During this period, he created a sketchbook for a little girl, which is now preserved at the Centre de Documentation Juive Contemporaine at the Mémorial de la Shoah in Paris. He managed to escape after two years, crossing the border into Switzerland. After the war, he returned to Paris with a renewed dedication to his painting, producing increasingly powerful compositions. His work was highly acclaimed when shown at an important 1946 exhibition at the Musée National d’Art Moderne de Paris, organized by Jean Cassou. The artist was then approached by the eminent art dealer Jean Bucher, who gave Kolos-Vary a major one-person show at his gallery in 1948. During this post-war period, Kolos-Vary participated in the radical Salon de Mai, 1949-1958, the Salon des Réalités Nouvelles, 1956-1961, and the Salon des Comparaisons, 1960-1962. Supported by his association with Stanley William Hayter and the landmark printmaking workshop Atelier 17...

Twin Formation in Gray, color woodcut, 1982, edition 30, Rose III.400. Signed, dated and numbered I7/XXX in pencil, annotated 415 and titled in the bottom left sheet edge. A fine impression with fresh, rich colors, on heavy off-white Japan paper; the full sheet with wide margins (1 3/4 to 3 1/4 inches), in good condition. Printed in black, dark gray, medium gray, yellow/orange, and lemon yellow. Matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Smithsonian American Art Museum. ABOUT THE ARTIST Painter, printmaker, and art teacher, Werner Drewes (1899–1985) was among the founding fathers of American abstraction. A student at the famed Bauhaus in the 1920s, he studied under Lyonel Feininger, Paul Klee, Laszlo Moholy-Nagy and Wassily Kandinsky. Following his emigration to the United States in 1930, he was instrumental in introducing modernist Bauhaus concepts and esthetics to America. Drewes’ boldly dynamic and emotionally expressive work, which encompassed both non-objective and figurative genres, brought him critical acclaim and numerous gallery and institutional exhibitions throughout his artistic career. Drewes' graphic work can be found in most major American art museums including, the Ackland Art Museum, The Art Institute of Chicago, Bauhaus Archive...

Terry Haass, 'Quintet', etching and aquatint, edition 20, c. 1948. Signed, titled, and numbered '12/20' in pencil. A superb, richly-inked impression, on off-white wove paper, with fu...

Katherine S. Dreier, 'Variation 5, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

Katherine S. Dreier, 'Variation 4, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...